Amigurumi Cats: Crochet Sweet Kitties

the Japanese Way (24 Projects of Cats

to Crochet) Boutique-Sha
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AMIGURUMI CATS
Crochet Sweet Kitties the Japanese Way

BOUTIQUE-SHA

T UT T L E Publishing
Tokyo Rutland, Vermont Singapore
 “Books to Span the East and West”
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Published by Tuttle Publishing, an imprint of Periplus Distributed by

Editions (HK) Ltd. North America, Latin America & Europe
Tuttle Publishing
www.tuttlepublishing.com 364 Innovation Drive,
North Clarendon,
JUNEKO TOIRO NO AMIGURUMI (Lady Boutique series VT 05759-9436, USA
no. 4801) Tel: 1 (802) 773 8930; Fax: 1 (802) 773 6993
Copyright © 2019 Boutique-sha, Inc. info@tuttlepublishing.com; www.tuttlepublishing.com
English translation rights arranged with Boutique-sha, Inc.
through Japan UNI Agency, Inc., Tokyo Japan
Tuttle Publishing
English Translation © 2023 by Periplus Editions (HK) Ltd. Yaekari Building 3rd Floor
Translated from Japanese by Nancy Marsden 5-4-12 Osaki
Shinagawa-ku
ISBN 978-0-8048-5583-9; ISBN 978-1-4629-2369-4 (ebook) Tokyo 141-0032
Tel: (81) 3 5437-0171; Fax: (81) 3 5437-0755
Staff: sales@tuttle.co.jp; www.tuttle.co.jp
Editing: Kanako Yaguchi, Motoko Hisatomi
Technical editing: Sayaka Kitahara Sae Takahashi Asia Pacific
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Yoshihiko Koshizuka Kana Shimada (process) 3 Kallang Sector #04-01
Book design: Yoko Maki Singapore 349278
Diagrams: Mai Shirai Tel: (65) 67412178; Fax: (65) 67412179
inquiries@periplus.com.sg; www.tuttlepublishing.com
*Items made from projects included in this book are
strictly for personal use. Any sale of these items
(in stores, via Internet, etc.) is prohibited.

Crocheted creature (Amigurumi) Ranch

Tatsumi Emiko
Lives with her partner and pet in Kobe City.
Learned the basics of crocheting from her grandmother
and mother.
The first crocheted creature she created in 2006 was a
cat called “Little Homely First.”

All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or
mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written
permission from the publisher.

25 24 23 22 5 4 3 2 1
Printed in China 2212EP

TUTTLE PUBLISHING® is a registered trademark of Tuttle Publishing, a division of Periplus Editions (HK) Ltd.
 Contents
Belly-up kitty strap and key chain 4
Roly-poly kitties 6
Stretching cat 10
Sleeping cat pencil case12
Black cat with a red ribbon 14
Curled-up cat brooches 16
Finger puppets 18
Norwegian Forest cat 20
Parent & child good luck cats 22
Cat paw kiss lock closure purse 24
Wedding cats 26
Yarns used in this book 29
How to assemble the roly-poly kitty 34
Before starting to crochet 76
Basic techniques 77

Cats are just plain cute. Cats you see outside, cats in the homes of neighbors and friends.
But, of course, for me the cutest and best is my own scraggly cat who’s always by my side!
Crocheted cats are definitely the same, the one you spend time and effort in crocheting
yourself is absolutely the cutest.
If you create your own special cat from amongst the cats within this book, I’ll be very
happy.

NOTE:
Measurements in this book are given in both imperial and metric forms. Metrics are
re more precise and
using them may therefore yield better results.
Hooks are given in metric sizes. Where equivalent US codes have been applied to a hook size, the US size
follows in parentheses.
Yarns, eyes, buttons and cotton stuτng used this book are by Hamanaka, a Japanese nese brand
with limited availability outside of Japan, but brands local to you can be used In their
heir place.
Yarn weights are provided in the “Yarns used in this book” section (page 28) to helplp you
substitute these yarns with your favorites.
We suggest that you read the “Before beginning to crochet” section before beginning
ning any
of these projects.
 1

Belly-up kitty strap

and key chain
Instructions page 40
Yarn used Hamanaka Aprico

4
 is t
tw

These kitties like to lie belly-up.

They're a very relaxed, laid-back
pair of cats.

5
 Roly-poly kitties

3 4

Crochet Instructions page 30

Illustrated step-by-step instructions page 34
Yarn used Hamanaka Piccolo

6
 Turn
r ight,
right
!

Sweet view from behind

These kitties look cute from

every angle. They’re designed
like a classic roly-poly toy—if
you give them a poke, or if they
fall over, they pop right back up.

7
 Poke r
Teete

8
 Ta- d
a h!
Totter

9
 Stretching cat
A tortoiseshell cat and a white cat with mismatched
eyes have just woken up are having a big stretch.
The half-opened, heavy-lidded eyes that still look
sleepy are key.

Instructions page 44
Yarn used
6 Hamanaka Mohair (colorful)
7 Hamanaka Mohair

10
11
Sleeping cat pencil case
These cats in baby colors that are sleeping so peacefully
are pencil cases with the zipper on their stomachs.
They can also be used as a pouch or glasses case.

12
 Instructions page 48
Yarn used 8 Hamanaka Paume Baby Color
9 Hamanaka Paume Baby Color
Hamanaka Paume (pure cotton) baby

Studying will be more

fun with these cats by
your side.

13
 Black cat with a red ribbon

14
This black cat sitting so nicely looks
great with a red ribbon. If you
use crystal cat eyes, its expression
becomes even more feline.

Well now

Mm
, no
t so
bad
, me
ow

Instructions page 70
Yarn used Hamanaka Amelie

15
 Curled-up cat brooches

These tucked-up kitties (orange tabby and Siamese) are

actually adorable brooches. Pin them on your lapel or
on a bag and take them with you everywhere.

Instructions page 52
Yarn used Hamanaka Tino

16
As seen from above. For the back, a simple safety pin does the trick.

17
 Instructions page 58
Finger puppets Yarn used Hamanaka Korpokkur

18
Five cat finger puppets are more than five
times the fun when you line them up!
They don’t have many parts, so they’re
easy to make!
You can also stash a lip balm inside one—
it makes a cute gift!

Even with the same pattern, if you

change the color or pattern the cats
seem to have different personalities.

19
Norwegian
Forest cat
Instructions page 62
Yarn used Hamanaka Mohair

20
This cat with its big body and
round eyes is based on my cat
Kū-chan. Mohair yarn really
brings out the fluffiness.

His plump form is enchanting.

21
Parent & child good luck cats
It’s said the right hand invites luck with money and the left
invites people, but crocheted good luck cats—called Maneki
Neko—seem to also be beckoning feelings of serenity and
peace. Using the same pattern, you can change the size by
changing the thickness of the yarn.

22
 You put your arm
up like this—meow

Instructions page 66
Meow Yarn used 19 Hamanaka Bonnie,
Hamanaka Piccolo
20 Hamanaka Piccolo

ton,
za b u
It’s a
meow

A zabuton is a Japanese ñoor cushion meant for kneeling

23
Cat paw kiss lock closure purse
A chubby kiss lock closure purse with a paw pad on. The raised
pattern gives it a fun texture. 2 1 and 22 are the paws of a tiger and
calico, respectively. Use a clasp covered in crochet and crochet up
to the end.

24
The kiss lock closure purse
can be used as a change
purse or as a pouch.

There's a pattern on the back as well.

Instructions page 55
Yarn used Hamanaka Dennis
the Menace

25
Wedding cats Instructions page 70
Fun for bridal showers, rehearsal dinners Yarn used 23 Hamanaka Amelie
and weddings. They add a lovely touch
.

Hamanaka Piccolo
to the start of a life of happiness. 24 Hamanaka Amelie

26
The Russian Blue groom is dressed up in a
silk hat and bow-tie, while the Tuxedo cat
bride is dolled up in a veil and pearl necklace.

27
 A
B
C
D
E
F

G
I H
J
K

28
28
Yarn used in this book
*Most yarns are shown in actual size.

A Hamanaka Dennis the Menace

(a.k.a. Wanpaku Dennis) — Worsted weight
50g ball app. 131½ y/ 120 m, hook size 3.00 (C-2)

B Hamanaka Paume — Sport weight

25g ball app. 76½ y/ 70 m, hook size 3.00 (C-2)

C Hamanaka Paume (pure cotton) baby — Sport weight

25g ball app. 76½ y/ 70 m, hook size 3.00 (C-2)

D Hamanaka Amelie — Worsted weight

40g ball app. 120½ y/ 110 m, hook size 3.00-3.50 (C-2–E-4)

E Hamanaka Tino — Light fingering weight

25g ball app. 208 y/ 190 m, hook size 2.00 (A-0)

F Hamanaka Mohair (colorful) — Light fingering weight

25g ball app. 109½ y/ 100 m, hook size 2.50 (B-1)

G Hamanaka Mohair — Light fingering weight

25g ball app. 109½ y/ 100 m, hook size 2.50 (B-1)

H Hamanaka Aprico — Fingering weight

30g ball app. 131½ y/ 120 m, hook size 2.25–2.50 (B-1)

I Hamanaka Korpokkur — Sport weight

25g ball app. 101 y/ 92 m, hook size 2.25 (B-1)

J Hamanaka Bonnie — Bulky weight

50g ball app. 66 y/60 m, hook size 4.50 (7)

K Hamanaka Piccolo — Sport weight

25g ball app. 98½ y/ 90 m, hook size 2.50 (B-1)

29
page 6 3 x4 x5
3 Yarn used Other materials How to crochet
Hamanaka Piccolo 3–5 for all 1. Make a magic circle and
3 golden brown (21) 8g Hamanaka cotton stuɉng crochet each of the parts.
white (1) 1g (H405-401), as needed 2. Secure the nuts in the base.
4 gray (33) 7g 2 Hamanaka solid eyes 3. Attach the ears and eyes
black (20) 2g (H221-304-1 black 4mm) to the head and add the
5 white (1) 7g 2 Hexagon nuts (M12, app. 7/8" [2cm] embroidery.
black (20) 2g long, 7/8" [2cm] wide, 3/8" [1cm] tall) 4. Sew the head and body
No. 25 embroidery thread (dark brown), together.
4 Tools
as needed 5. Embroider the striped
2.50 (B-1) crochet hook
Hand sewing thread pattern (only on 4), add
Yarn needle or other
Fabric glue the small, medium, and
large-eye needle
3 1 bell (app. 7mm diameter, gold) large spots (only on 5), and
Embroidery needle
4" (10cm) of satin ribbon (¼" [5mm] attach the ribbon and bell.
Sewing needle
wide, green)
Stitch markers
No. 25 embroidery thread (pink)
as needed
4 1 bell (app. 7mm diameter, silver)
5 4" (10cm) of satin ribbon (¼" [5mm]
wide, purple)
5 1 bell (app. 7mm diameter, gold)
4" (10cm) of satin ribbon (¼" [5mm)]
wide, red)
No. 25 embroidery thread (pink),
as needed

Chart for crocheting the body

3 golden brown 4 gray 5 white

Number of Change
Row
stitches stitches by:
10
9 45 No increase
8
7 45 Add 5 loop
6 40 stitches
each row
5 35
4 28 Add 7
stitches
3 21 each row Front side
2 14
7 stitches
1 7
in the loop

30
 Chart for crocheting the head

Number Change
Row
of stitches stitches by:
Color scheme for 3
15 45 Add 5 stitches
golden brown white
14 40 No increase
Crochet 4 in all gray and
13 40 Add 4 stitches
5 in all white
12 36 No increase
11 36 Add 4 stitches
10 loop
= Attach ears here
9 32 No increase Stuσ with
8 cotton = Attach solid eyes here
7 32 Add 4 stitches = Embroider French knot here
6 28 No increase = Attach ribbon here
5 28 Add 6 stitches
4 22 No increase
3 22 Add 6 stitches Front side
2 16 Add 8 stitches
8 stitches
1 8
in the loop

Chart for crocheting the ears 5 Chart for crocheting small,

3 dark brown 4 gray 5 black medium, and large patches
Upper side black

Number Change
Row
of stitches stitches by:
loop

loop 3 21 Add 7 stitches

2 14 each row
large
medium 7 stitches
small 1 7
Number Change inside the loop
Row
of stitches stitches by:
Add 4 3 rows for the large patch, 2 for the medium patch,
2 7
stitches and 1 for the small patch
3 stitches
1 3
in the loop

٦ Continues on next page

31
 How to assemble
①‒③ are the same for 3, 4, and 5

There is a photo explanation of

how to assemble on pp. 34–39

① Assemble the body.

Secure the nuts stuɈed with cotton inside the body.

c ot t o n
c ot t o n

Add cotton between

the nuts and body.

Stack the two nuts Body

Body

③ Connect the head and body, and

② Assemble the head. attach a ribbon and a bell.

Starting point for head

Sew the ears on
1 row

4 rows Attach the

7 rows ribbon to
1 row the neck
Add solid eyes 3 rows 1 row App. 2¾"
(7c)
Straight stitch
(6 strands of dark brown)

Sew crocheted
Embroider 3 French knots edges together
(For 3 & 5: 6 strands of pink
Add the bell
For 4: 6 strands of dark brown)
to the ribbon

*Use No. 25 embroidery thread

for all of the embroidery in ②

32
④ Embroider 4 and add patches to 5.

*Use back stitch for all (black) (= 1 stitch-worth)

(front) (side) (back)

Starting point
Starting point for
for head
head
1 sts
= 2 rows
6 rows 6 rows
6
rows

8 sts 3 sts
3 rows 9 sts 1 row
8 sts
12 sts 1 row

13 sts 3 sts 3 sts

Directly beneath start of the Änal row

2 sts

5 Add the small, medium, and large patches.

(left)

Starting point for head

Starting point for head
4 rows
12 rows Large patch

3 1 row
rows

5 rows
4 sts

Large patch Large patch

7 rows
Sew using black
Starting point for
body

33
 How to assemble the roly-poly kitty
We used two different colors to represent the yarn and the thread so as to make it easier to follow along.

Assemble the body

Nut

Hexagonal nut
Body (front side)

Nut

u Stuff the two nuts. Pack the cotton into the
nuts tightly using a needle punch until there’s
no space left.
v Place the nut stuffed with cotton inside the
body. To keep it in place so it doesn’t move,
pull the needle through the middle of the
starting loop and leave some thread outside
the middle of the nut.

1½-2"
4–5cm

w Leave a thread tail of about 1½–2" (4–5cm) on

the underside.
x Make a knot on top of the nut.

Scoop
through one
stitch

y the
Scoop through the loop immediately next to z needle
Where you pulled the thread through, put the
in the middle of the cotton.
nut so that it doesn’t show through on the
outside and pull the thread through.

34
 Scoop the bottom of
the single crochet.

{ inside
Pull the thread through to the front side from
the middle of the cast-on stitch.
| row
Scoop the bottom of the single crochet in the 1st
and pull the thread through. Continuing,
put the needle inside the middle of the loop of
the cast-on stitch, pass through the middle of
nut and pull the thread through to the inside.

} Thisand
time, scoop a loop on the opposite side of ~ end
Tie the thread on the outside together with the
y repeat steps z and .{ of the thread and make a knot.

Pull the end of the thread through the middle Add cotton between the nut and the body. Add a
of the cast-on stitch, pass the needle through little bit at a time to ensure it is even.
the cotton, pull so that the knot from ~ is
hidden on the inside, and cut the thread.

35
 Assemble the face

Face (front side) Marker

u thoroughly
Stuff the face with cotton. Be sure to stuff it v markers.
Mark the location to attach the ears with stitch
so that it is even.

Ear

w face
After crocheting, the ears are attached to the
using the end of the yarn. Insert the needle
x the
Continuing, insert the needle in the stitch at
bottom of the ear and pull the yarn though.
into the stitches where the ears will go and pull Repeat, alternating between w and x.
the yarn through.

French knot
stitch wrapped
three times
Straight
stitch

y Attach the opposite ear in the same fashion. z Add the embroidery to the face.

36
 Add glue to the
end of the eye
stem

{ stem
Add glue to the end of the eye stem, insert the | The face is complete.
into place, and push gently.

Connect the face and body by sewing them together

Face

Body

u through
Draw the tail from the last crochet stitch
to the inside.
v body
Use the tail from the last crochet stitch of the
to sew body and head together. Insert
the needle into both loops of the chain of the
first single crochet in the last row of the body
and pull the yarn through.

w into
In the direction of the arrow, insert the needle
the face and body one stitch at a time and
pull the yarn through.
x Repeat w and sew them together. As you sew
continue stuffing the toy until you reach the
desired hardness and adjust the shape.

37
 Attach the ribbon and bell

Ribbon

App. ̒" (2cm)

y Go all the way around to complete the u ribbon

Cut about 4" (10cm) of ribbon, overlap the
so that about ⅞" (2cm) sticks out at
connection.
each end.

Straight pin

Bell

v Put ê and ê together and secure with a

straight pin.
w (3Passgolden
about 20" (50cm) of the matching yarn
brown 4 gray 5 white) through the
bell.

x ribbon
Cut about 4" (10cm) of ribbon, overlap the y ribbon
Wrap the other side of the yarn around the
in the same way, and tie together in the
so that about ⅞" (2cm) stick out at
each end. back. Remove the straight pin.

38
 App. ɠ" (1cm)
Add glue

App. ̒" (2cm)

z Cut the ends of the ribbon the same size. Using { The bell is now attached to the ribbon.
a toothpick, etc., and add glue to prevent fraying.

| and
Thread one end of the yarn through a needle
pull the needle through the back of where
} and
Thread your needle with the other end, insert
pull it through in the same spot as . |
the ribbon sits. Remove the needle.

~ the
Tie the ends together Insert the needle to draw 11 You’ve completed a roly-poly kitty.
knot through the body. Pull the yarn until
the knot is concealed, and cut yarn close to the
crocheting. Massage the crocheting so that the
ends of the yarn go inside.

39
page 4
1x2
Yarn used
1 Hamanaka Aplico
1 1 white (1) 8g
2g yellow (17) 2g
2g brown (19) 2g
2 white (1) 7g
2g light brown (22) 2g
2g light blue (28) 2g
Tools
2.25 (B-1) crochet hook
Embroidery needle
Sewing needle
2 the body.
Other materials
Same for 1x 2
Hamanaka cotton stuɉng
(H405-401) as needed
No 25 embroidery thread
(dark brown, pink) as needed
Hand sewing thread
1 jump ring (4mm, silver)
1 1 strap with metal attachment
2 1 metal keychain
How to crochet
1. Cast on chain stitches, and
crochet a ring for the body.
2. Crochet a magic loop, and
crochet the parts besides
the body.
3. Attach the ears and nose to
the head and embroider.
4. Attach the front and back
legs to the body.
5. Sew the head and body
together.
6. Cast on a chain stitch,
crochet the tail, and add to
7. Attach the metal attachment.

Chart for crocheting the body

white

Number of Change
Row
stitches stitches by:
Decrease
12 26
by 4 stitches
11 30 No increase
10 Refer to
30
crochet chart
9 30 No increase
8 Refer to
30
crochet chart
7 30 No increase
Start crocheting by chaining
6 30 Add 6
16 stitches and making
stitches
them into a loop.
5
24 No increase Place to attach left feet
4
3 24 Add 4 Place to attach right feet
stitches
2 20 No increase How to crochet the tail
1 20
Chain 16 to 1 brown 2 light brown
20 stitches
= cut the yarn

Base side End

Start crocheting by
chaining 12 stitches.

40
Row
Number of
stitches
Change
stitches by:
How to crochet the head
Color scheme for 2
10 16 Decrease by
6 stitches white light blue
9 22 each row ٦ 1 is crocheted in all white
8
7
28 No changes
6
5
4 28 Increase by
6 stitches
3 22 each row
2 16 Increase by 8
8 stitches
1 8 StuɈ with
inside the loop
cotton
loop
Attach
ears here

Front side

Chart for crocheting Chart for crocheting

the back legs (2) around the nose
white white

StuɈ with
loop
cotton
StuɈ with
cotton

loop

Number of Change Number of Change

Row Row
stitches stitches by: stitches stitches by:
6 2 12 Add 4 stitches
5 8 stitches
10 No changes 1 8
4 inside the loop

3
2 10 Add 2 stitches
8 stitches
1 8
inside the loop

41
Another random document with
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Peace and beauty and fortune attend her and all those who do adore
her!
Letizia had not been six months in the chorus before she attracted
the attention of John Richards by some imitations she gave at a
supper party at which, most unusually for him, he was present. If
John Richards’s eyes seemed exclusively occupied with the
personal appearance of the young women who adorned his theatre,
they were not on that account blind to talent. He asked who the
good-looking girl was, remembered now that he had engaged her
himself, was informed that she came of theatrical stock, and made a
note on his cuff that she was to be given an important understudy.
Letizia’s luck held. The lady who played the part she was
understudying was taken ill at Brighton one Saturday afternoon; and
that very night John Richards, who happened to pay one of his
periodical visits to the back of a box in order to be sure that his
company was not letting the show down by slackness, witnessed
Letizia’s performance. He turned to his companion, and asked what
he thought of her.
“I think she’s a marvel.”
“So do I,” said John Richards.
Yet he did not mention a word to Letizia about having seen her. In
fact, neither she nor any of the company knew that the Guv’nor was
in front, for these visits to his theatre were always paid in the strictest
secrecy. However, when in July the musical comedy for the autumn
production was ready for rehearsal, John Richards offered Letizia a
part with three songs that were likely to take London by storm, if the
actress knew how to sing them.
Nancy was acting in Leicester the week that Letizia’s telegram
arrived with its radiant news of the luck her birthday had brought.
She went into the church where twenty-one years ago she and Bram
were married, and there she lighted every candle she could find to
Our Lady of Victories. The pricket blazed with such a prodigality of
golden flames in the jewelled sunlight that the old woman who was
cleaning out the pews came up to find out if this extravagant stranger
was a genuine devotee.
 “It’s all right,” Nancy told her. “I was married in this church twenty-
one years ago, and I am thanking Heaven for happiness after much
sorrow.”
The old cleaner smiled so benignly that Nancy gave her half a
crown and begged for her prayers. Then she sought out the priest,
and asked him to say Masses for the soul of Letizia’s great-
grandmother and for herself a Mass of thanksgiving, and still another
Mass for the intention of the Sisters of the Holy Infancy. She gave
him, too, alms for the poor of his parish, and then going home to her
lodgings she knelt beside her bed and wept the tears of unutterable
thankfulness, those warm tears that flow like outpoured wine, so rich
are they with the sunshine of the glad heart.
Letizia’s first night was on the ninth of September. Her mother
decided to give up her autumn engagement, and trust to finding
something later on when the supremely important date was past.
She did not want to worry Letizia during her rehearsals; but her
experience might be of service, and she ought to be near at hand.
Nancy stayed at her old rooms in St. John’s Wood which she had
chosen originally to be near Letizia at school in the days when she
herself was a London actress. Perhaps if she could have mustered
up as much excitement about her own first night in London, she
might have been famous now herself instead of merely being
favourably known to a number of provincial audiences. Yet how
much more wonderful to be the mother of a famous daughter in
whose success she could be completely absorbed without feeling
the least guilt of egotism.
The piece that Autumn at the Vanity was only one of a long line of
musical comedies between which it would be idle to attempt to
distinguish; the part that Letizia played was only one of many similar
parts, and the songs she sang had been written over and over again
every year for many years; but Lettie Fuller herself was different.
She was incarnate London, and this was strange, because she had
neither a cockney accent nor, what was indeed unexpected on the
musical comedy stage, a mincing suburban accent. She did not open
big innocent eyes at the stalls and let her underclothes wink for her.
She neither pursed her lips nor simpered, nor waggled her head. But
she was beautiful with a shining naturalness and an infectious
vitality; and as Mrs. Pottage told her mother, she was as fresh as a
lilac in Spring.
The old lady—the very old lady, for she was now seventy-five—
was sitting with Nancy in the middle of the stalls. Nancy thought that
she would be less nervous there than in a box, and it would be
easier for Letizia not to be too much aware of her mother’s
anguished gaze.
“Well, I’m sorry she’s gone and had herself printed Lettie Fuller,”
said Mrs. Pottage. “Because I’d made up my mind that before I died I
would learn how to spell Letitsia, and I brought my best glasses on
purpose so as I could see the name printed as it should be. And then
she goes and calls herself Lettie, which a baby-in-arms could spell.
And Mrs. Bugbird and pore Aggie Wilkinson was both very anxious
to know just how it was spelt, so they’ll be disappointed. I only hope
Mrs. B. will reckonise her when she comes on, because she won’t
know who she is from Adam and Eve in the programme.”
“Is dear old Mrs. Bugbird here?” Nancy exclaimed.
“Of course she’s here—and pore Aggie Wilkinson, of course. Why,
they wouldn’t have missed it for nothing. It’s only to be hoped that
Mrs. B. don’t fall over in the excitement. She’s in the front row of the
upper circle, and if she did come down she’d about wipe out the front
six rows of the pit. Still, I daresay Aggie will hook one of her pore
crutches in the back of Mrs. B’s bodice which is bound to bust open
in the first five minutes. The last time she and me went to the theatre
she looked more like a tug-of-war than a respectable woman before
the piece was over.”
“The overture’s beginning,” Nancy whispered, for people were
beginning to turn round and stare at the apple-cheeked old lady who
was talking so volubly in the middle of the stalls.
“So any one can see by the airs that conductor fellow’s giving
himself. Why band-conductors should be so cocky I never could
fathom. It isn’t as if they did anything except wave that blessed bit of
wood like a kid with a hoopstick. It’s the same with bus-conductors.
They give theirselves as many airs as if they was driving the blessed
bus itself. That’s it, now start tapping,” she went on in a tone of
profound contempt. “Yes, if he dropped that silly bit of wood and got
down off that high chair and did an honest night’s work banging the
drum, perhaps he might give himself a few airs. Ah, now they’re off,
and depend upon it that conductor-fellow thinks, if he stopped
waving, the band would stop playing, and which of course is
radicalous.”
The overture finished. The first bars of the opening chorus were
being played. The curtain rose.
“There she is! There she is!” Mrs. Pottage gasped when from the
crowded stage she disentangled Letizia’s debonair self. “And don’t
she look a picture, the pretty jool!”
When the moment came for Letizia to sing her first song, her
mother shut her eyes against the theatre that was spinning before
them like a gigantic humming-top. It seemed an hour before she
heard Letizia’s voice ringing out clear and sweet and cool across the
footlights. She saw her win the hearts of the audience until they were
all turned into one great heart beating for her. She heard the surge of
her first encore, and then she might have fainted if Mrs. Pottage had
not dug her sharply in the ribs at that moment.
“Did you hear what that old buffer in front of us said?” Mrs. Pottage
whispered hoarsely.
“Something nice about Letizia?” she whispered back.
“He said he was damned if she wasn’t the best girl John Richards
had found for years. And how I didn’t get up and kiss the blessed top
of his bald head I’m bothered if I know.”
The curtain fell on the first act, and the loudest applause was
always for Letizia.
“Oh, she’s knocked ’em,” Mrs. Pottage declared. “She’s absolutely
knocked ’em. But she’s lovely! And, oh, dear, God bless us both, but
how she did remind me of her pore father once or twice.”
The old lady fumbled for Nancy’s hand and squeezed it hard.
 “Well, I don’t mind saying she’s made me feel like a girl again,”
Mrs. Pottage went on after a moment or two of silence. “Every
sweetheart I ever had come into my mind while she was singing that
song. You know! It was like riding on the top of a bus in fine weather
when they’ve just watered the streets and the may’s out in flower
and you say to yourself there’s no place like dear old London after all
and begin to nod and dream as you go jogging along, thinking of old
faces and old fancies and the fun you’ve had years ago.”
The curtain rose on the second act, and with every line she said
and with every note she sang Lettie Fuller became nearer and
dearer to her audience that night.
Once, after a sally had been taken up by the house in roars of
laughter, Mrs. Pottage exclaimed to Nancy:
“Hark! did you hear that? That was Mrs. Bugbird’s laugh above the
lot. Oh, I’d reckonise that laugh if I was in my coffin. You mark my
words, she’ll be whooping in a moment. That’s always the way it gets
her. But pore Aggie’ll pat her back if she whoops too hard.”
In spite of the encores—and Letizia always won by far the loudest
and most persistent of them—the curtain fell at last on another
thundering Vanity success.
“Bravo, bravo, my beauty!” Mrs. Pottage stood up to shout when
Letizia took her call. Lots of other people were standing up and
shouting, so her enthusiasm was not so very conspicuous. Nancy
felt too weak with emotion to stand up herself, and sank back in a
pale trance of joyful relief.
“There’s Mrs. B.!” Mrs. Pottage suddenly exclaimed. “And if she
claps much louder, she’ll clap herself out of that new dress of hers
for good and all. And when she gets out in the Strand she’ll be run in
to Bow Street if she isn’t careful. She’s the most excitable woman I
ever did know.”
At last the audience consented to let the performers retire, and a
few minutes later Nancy held Letizia in her arms.
“Darling mother, was I good?”
 “Darling child, you were perfect.”
“And where’s Mrs. Pottage?” Letizia asked. “Did she think I was
good?”
“The dear old soul’s waiting to be invited into your dressing-room.”
“Mrs. Pottage! Mrs. Pottage!” Letizia cried, hugging the old lady.
“You’re coming back to supper with me, aren’t you?”
“Oh, no, duckie. I’ve got Mrs. Bugbird and pore Aggie Wilkinson
waiting to go back to Greenwich. We’re all going to take a cab to
London Bridge.”
“Oh, but they must both come to supper too. They must really. I’ll
get a car to drive you home. You must all come. I won’t be long
dressing.”
And, if it was possible for Nancy to feel any happier that night, it
was when her little daughter showed that success had not made her
heedless of old simple friends.
The very next day Nancy went round to see her agent.
“You don’t mean to tell me you want to get another engagement at
once, Miss O’Finn? Why, I should have thought you would have
wanted to stay and enjoy your daughter’s success. It was wonderful.
What notices, eh? By Jove, it’s refreshing nowadays to hear of
anybody clicking like that.”
“Oh, no, I’ve rested quite long enough,” Nancy said. “I want to be
off on tour again as soon as possible.”
The agent looked at his book.
“Well, I’m awfully sorry, Miss O’Finn, but I don’t believe there’s
anything just at the moment that would suit you.” He paused. “Unless
—but, no, of course, you don’t want to play that line of parts yet.”
“What line?”
“Why, Charles Hamilton is losing Miss Wolsey who has been
playing Mrs. Malaprop, Mrs. Hardcastle, etc., with him for the last
fifteen years.”
 “You mean the old women?” Nancy asked.
“Quite—er—quite.”
“I would like to be with Charles Hamilton,” she said pensively. “And
at forty it’s time to strike out in a new line of parts.”
“Well, he’s playing at Croydon this week. If you would consider
these parts, why don’t you go and see him? It’s a pleasant company
to be in. Forty-two weeks, year in year out, and of course he
occasionally has a season in London. Nothing but Shakespeare and
Old Comedy.”
Nancy did not hesitate. Now that her daughter was safely
launched it was time for her to be settling down. She went back to
her rooms and wrote a long letter to Mother Catherine about Letizia’s
triumph. Then she wrote to Charles Hamilton for an interview. She
went to Croydon, interviewed him, and a fortnight later she was
playing with him at Sheffield—Mrs. Candour in The School for
Scandal on Monday, the Nurse in Romeo and Juliet on Tuesday,
Mrs. Malaprop in The Rivals on Wednesday, Mistress Quickly in The
Merry Wives on Thursday, nothing on Friday when Twelfth Night was
performed, but on Saturday Mrs. Hardcastle in She Stoops to
Conquer at the matinée and at night once more the Nurse in Romeo
and Juliet.
Nancy no longer worried over her increasing tendency to
increasing portliness, and she never regretted joining Charles
Hamilton’s company, which now that Mrs. Hunter-Hart had retired
represented the last stronghold of the legitimate drama in Great
Britain. So long as Charles Hamilton went out on tour she
determined to tour with him. The habit of saving so much out of her
salary every week was not given up because Letizia was secure;
indeed she saved more each week, because now that she had taken
to dowagers she could afford to ignore the changes of fashion which
had made dressing a problem so long as she was competing for
parts with younger women.
And then Letizia Fuller after enchanting London for a year
abandoned the stage for ever in order to marry the young Earl of
Darlington.
The following letter to her mother explained her reasons:

125 Gordon Mansions,

Gordon Square,
W. C.
Sept. 15.
My darling darling Mother,
In a few days you will read in the papers that I am
engaged to be married to Lord Darlington. I haven’t said
anything to you about this before, because I wanted to
make up my own mind entirely for myself. He proposed to
me first about two months ago, and though I loved him I
wondered if I loved him enough to give up the stage. You
don’t know how much I was enjoying being loved by the
public. That’s what I wondered if I could give up, not the
ambition to become a great actress. But I’ve come to the
definite conclusion that I’m not really so very ambitious at
all. I think that simple happiness is the best, and my
success at the Vanity was really a simple happiness. It
was the being surrounded by hundreds of jolly people,
every one of whom I liked and who liked me. But I don’t
think I should ever want to be a wonderful Lady Macbeth,
and thrill people by the actress part of me. I’m not really
acting at the Vanity. I’m just being myself and enjoying it.
Of course, people might say that if marriage with an earl
is simple happiness then simple happiness is merely
social ambition. But I assure you that unless I loved
Darlington I would not dream of marrying him. He’s not
very rich, and apart from the pleasure of being a countess
it’s no more than marrying any good-looking, simple,
country squire. The only problems for me were first to find
out if I loved him as much as I loved the public and being
loved by them, and secondly to know if he would agree
that all the children should be Catholics. Well, I do know
 that I love him more than I love the public and I do know
that I want his love more than I want the love of the public.
And he agreed at once about the children.
Thanks to you, darling, I’m not likely to seem particularly
out of place in my new part. Perhaps it’s only now that I
realise what you’ve done for me all these years. You shall
always be proud of me. I do realise too what dear Mother
Catherine and the nuns have done for me. I’m writing to
her by this post to try to express a little of my gratitude.
Darling mother, I’m so happy and I love you so dearly.
Your own
Letizia.

Three days later, the engagement of the beloved Lettie Fuller gave
the press one of those romantic stories so dear and so rightly dear to
it. Two days after the announcement Nancy received from Caleb
Fuller a letter addressed to her care of Miss Lettie Fuller, at the
Vanity Theatre.

The Towers,
Lower Bilkton,
Cheshire.
Sept. 18, 1911.
My dear Nancy,
I’ve been intending to write to you for a long time now to
invite you and Lettie to come and stay with us. But this
new house which I have just built has taken longer to get
ready than I expected. It’s situated in very pretty country
about fifteen miles from Brigham, and my architect has
made a really beautiful miniature castle which everybody
admires. I presented dear old Lebanon House to the
Borough of Brigham to be used as an up-to-date lunatic
asylum which was badly required in the district.
Trixie and I do so very much hope that you and Lettie
will come and stay with us and spend a quiet time before
 the wedding takes place, of which by the way we have
read. You haven’t met Trixie yet, and it’s always such a
disappointment to her. But I’m sure you’ll understand what
a mess we’ve been in with building. I want you to meet
Norman too. Do you know, he’s fifteen. Doesn’t time fly?
He’s at Rossall, and I’ve made up my mind to give him the
chance his father never had and let him go to the
University.
Are you interested in gardening? Trixie is a great
gardener and spends all her time with her roses. Now, I
think I’ve given you most of our news, and we are waiting
anxiously to hear you are going to give us the pleasure of
your visit. Poor Aunt Achsah and Aunt Thyrza are both
dead. I would have sent you a notice of the funerals if I
had known your address.
With every good wish for your happiness and for the
happiness of dear little Lettie,
Your affectionate brother-in-law,
Caleb Fuller.

To this Nancy sent back a postcard:

Hell is paved with good intentions, Caleb!

It is tempting to prolong this with an account of Letizia’s wedding

and to relate what Mrs. Pottage wore at it and what she said when
Lord Darlington kissed her good-bye, before he and Letizia set out
on their honeymoon. It is tempting to dwell on the wit and the beauty
of Letizia Darlington and still more tempting to enlarge upon her
happiness. But she and her husband belong too much to the present
to be written about and this tale of over eighty years is already too
long. Yet, one more letter must be printed.
 C/o Charles Hamilton’s
Shakespeare-Sheridan Company.
Princess’s Theatre,
Bristol.
Dec. 3, 1913.
Darling Letizia,
I’m so overjoyed you’re glad to have a second little boy,
though I hope you’ll have a little girl soon. You are a dear
child to want me to give up acting and settle down with
you at Vipont for the rest of my life. But you know, I am still
comparatively young, only 44, and from every point of
view I think it is better that I should go on acting. I am very
happy with Mr. Hamilton, and the life on tour suits me.
Moreover, it amuses me to feel that one day I may have
quite a nice little nest egg for this new little boy who will be
a younger son, and I know that Vipont requires all the
money you’ve got to keep it up properly. God bless you,
my darling, and let me go on acting quietly in this very
pleasant old-fashioned company which is more like a
family party than anything else.
My dear love to all of you.
Your loving
Mother.

And up and down the length of England, in and out of Wales, over
to Ireland, and across the border into Scotland Nancy O’Finn still
wandered.

THE END
 Transcriber’s Note (continued)

This book contains many intentional misspellings of words and names.

They appear in the dialogue and correspondence of certain characters
and are used by the author as a literary device. These misspellings
have been left as they appear in the original publication.

Similarly, exclamations and dialogue in Italian have also been left

unchanged.

For the rest of the text, archaic spelling and inconsistencies in

capitalisation or hyphenation have been left unchanged except where
noted below. Other minor typographical errors have been corrected
without note.

Page 19 – “lovebirds” changed to “love-birds” (a cageful of love-

birds)

Page 57 – “sunsplashed” changed to “sun-splashed” (on a sun-

splashed piazza)

Page 149 – “parlour-maid” changed to “parlourmaid” (an elderly

parlourmaid)

There are a small number of footnotes in chapters I and III which

provide an English translation of some Italian word or phrases that
appear in the text. Each footnote is placed immediately below the
paragraph in which it is referenced.

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